当代艺术向生活现实和大众文化的拓展，意味着艺术家改变现代主义的形式追求，更加看重艺术和他人的交流，和社会的互动。互动性的提出，不仅是艺术跨界的结果，而且意味着艺术人格的改变。即我们不再把自己视为自明、全能的美学革命者，以艺术创造强加于社会，而是以开放的心态，去呈现个人对社会、对历史、对生命、对存在的感受与体验，以期在同时代的观众反应和批评回馈中实现自我追求并对当代文化的历史记录有所贡献。
更进一步，互动性的提出乃是基于个体意识的人文关怀，即艺术应该有利于个性精神的生长，使之不断丰富、深化并升华。这是当代艺术的起点，通过互动形成各自不同的特点，也共用各自不同的特点。因此，艺术对生活现实和大众文化的汲取，不是表徵的认同，而是在展示表徵的过程中，去揭示阻碍个性精神生长的操控性力量。从这个意义上讲，当代艺术同时指向社会深度和精神深度，只不过这种指向—向对于现代主义而言——不是幽闭的而是开放的，不是孤立的而是互动的。
如果说1993年“香港后八九中国新艺术展”展现了中国新潮美术运动以来先锋艺术的创作成就，并将其成功推向国际舞台，那么，十五年之后我们再来看中国当代艺术，最值得关注的乃是与之相关而又有别的后先锋艺术。道理之所谓“后先锋”，不仅是时代的不同，而且有着创作群体和创作意识的差异。在一批具有后先锋创作意识的艺术家走向成熟的时候，及时展示他们的创作成果，乃是国际交往与历史呈现的需要：一方面以中国文化语境的个人表达参与国际艺术交流；另一方面则以新历史主义创作呈现当代中国人的精神面貌。艺术史永远是优秀艺术家的最终归宿。
Ⅰ历史为谁而啓
Ⅱ生活在问题中
Ⅲ异在方式追问
Ⅳ互动中的差异
The incursion of contemporary art into the practicalities of everyday life and mass culture is a sign that artists are moving away from the Modernist pursuit of form, and how give weight to the reciprocity is not merely the result of minimizing the differences between the branches of art, it also suggests that the personality of art itself is changing. We no longer regard ourselves as all-knowing, omnipotent art revolutionists, imposing our own creative vision on society. Instead, we have adopted an open mind towards ourselves, towards society, towards history, and towards life; not to mention the feelings and experience attendant to existence; in the hope that the reaction and criticism of our contemporaries will enable us to realize our quest and make a niche on the history of contemporary culture.
Furthermore, the suggestion of interaction has its genesis in the individual consciousness. Art should be beneficial to spiritual growth; enriching, deepening, and sublime. This is the origin of contemporary art. Though interaction, various characteristics of art are shaped and shared. Therefore, art does not seek to gain superficial recognition from practical life or pop culture. It seeks to reveal the manipulating force that obstructs individual spiritual growth. From this point of view, contemporary art is meant to sound society’s depth of understanding, as well as the degree of spiritual insight. However, from the standpoint of Modernism this purpose is not insular, but urbane; not alone, but with others.
If the 1993 “Hong Kong Post-89 Chinese New Art Exhibition”, which successfully propelled Chinese art into international awareness, can be considered the pinnacle achievement of Avant-garde Art in China’s New Wave Art Movement, then reflecting on Chinese contemporary art 15 years later, what concerns us the most is the similar, yet somehow different eras, it also refers to differences between artist groups and their creative consciousness. When a group of artists possessed of Post Avant-garde creative sensibility approaches maturity, a timely exhibition of their works is required in the interest of international exchange and to influence history. On one hand, artists, whose personal styles have been nurtured in a Chinese cultural and linguistic milieu, are enabled to participate in an international art exchange. On the other hand, they are able to use their school of New Historicism to express the spirituality of the modern Chinese people. A place in art history is the eternal goal of outstanding artists.
